Flemish painting technology. Flemish painting. Flemish painting technique. Flemish school of painting. Old oil painting techniques

He worked in the chiaroscuro (light-shadow) technique, in which the dark areas of the picture are contrasted with the light ones. It is noteworthy that not a single sketch of Caravaggio has been discovered. He immediately worked on the final version of the work.

17th century painting in Italy, Spain and the Netherlands embraced new trends like a gulp fresh air. The Italians de Fiori and Gentileschi, the Spaniard Ribera, Terbruggen and Barburen worked in a similar technique.
Caravaggism also had strong influence to the stages of creativity of such masters as Peter Paul Rubens, Georges de La Tour and Rembrandt.

The voluminous paintings of the Caravaggists amaze with their depth and attention to detail. Let's talk more about the Dutch painters who worked with this technique.

Hendrik Terbruggen was the first to accept the idea. He is in early XVII century visited Rome, where he met Manfredi, Saraceni and Gentileschi. It was the Dutchman who initiated the Utrecht school of painting with this technique.

The subjects of the paintings are realistic, they are characterized by the gentle humor of the scenes depicted. Terbruggen showed not only individual moments of contemporary life, but also rethought traditional naturalism.

Honthorst went further in the development of the school. He turned to biblical stories, but built the plot from an everyday point of view Dutch XVII century. Thus, in his paintings we see a clear influence of the chiaroscuro technique. It was his works influenced by the Caravaggists that brought him fame in Italy. For his genre scenes by candlelight, he received the nickname “night”.

Unlike the Utrecht school, Flemish painters like Rubens and van Dyck did not become ardent supporters of Caravaggism. This style is indicated in their works only as a separate stage in the formation of a personal style.

Adrian Brouwer and David Teniers

For several centuries painting Flemish masters undergoes significant changes. We will begin our review of artists from the later stages, when there was a move away from monumental paintings to narrowly focused subjects.

First Brouwer, and then Teniers the Younger, based their creativity on scenes from Everyday life ordinary Dutch people. Thus, Adrian, continuing the motifs of Pieter Bruegel, somewhat changes the technique of writing and the focus of his paintings.

It focuses on the most unsightly side of life. He looks for types for his canvases in smoky, dimly lit taverns and taverns. Nevertheless, Brouwer's paintings amaze with their expression and depth of character. The artist hides the main characters in the depths, putting still lifes in the foreground.

A fight playing dice or cards, a sleeping smoker or dancing drunks. It was precisely such subjects that interested the painter.

But more late works Browers become soft, in them humor already prevails over grotesqueness and unrestraint. Now the canvases contain philosophical sentiments and reflect the leisurely pace of thoughtful characters.

Researchers say that in the 17th century, Flemish artists began to become smaller compared to previous generation masters However, we simply see a transition from the vivid expression of the mythical subjects of Rubens and the burlesque of Jordaens to the calm life of the peasants in Teniers the Younger.

The latter, in particular, concentrated on the carefree moments of village holidays. He tried to depict weddings and celebrations of ordinary farmers. Moreover, special attention was paid to external details and idealization of the lifestyle.

Frans Snyders

Like Anton van Dijk, whom we will talk about later, he began training with Hendrik van Balen. In addition, Pieter Bruegel the Younger was also his mentor.

Looking at the works of this master, we get acquainted with another facet of creativity that Flemish painting is so rich in. Snyders' paintings are completely different from the paintings of his contemporaries. France managed to find his niche and develop in it to the heights of an unsurpassed master.

He became the best in depicting still lifes and animals. As an animal painter, he was often invited by other painters, in particular Rubens, to create certain parts of their masterpieces.

In Snyders's work there is gradual transition from still lifes to early years to hunting scenes in more later periods. Despite all his dislike for portraits and depictions of people, they are still present in his canvases. How did he get out of the situation?

It’s simple, France invited Janssens, Jordaens and other masters he knew from the guild to create images of hunters.

Thus, we see that 17th century painting in Flanders reflects a heterogeneous stage of transition from previous techniques and views. It did not happen as smoothly as in Italy, but it gave the world completely unusual creations by Flemish masters.

Jacob Jordaens

Flemish painting of the 17th century is characterized by greater freedom compared to the previous period. Here you can see not only live scenes from life, but also the beginnings of humor. In particular, he often allowed himself to introduce a piece of burlesque into his canvases.

In his work, he did not reach significant heights as a portrait painter, but nevertheless, he became perhaps the best in conveying character in a picture. Thus, one of his main series - “Festivities of the Bean King” - is based on illustrating folklore, folk tales, jokes and sayings. These canvases depict the crowded, cheerful, vibrant life of Dutch society in the 17th century.

Speaking of Dutch art painting of this period, we will often mention the name of Peter Paul Rubens. It was his influence that was reflected in the works of most Flemish artists.

Jordaens also did not escape this fate. He worked for some time in Rubens' workshops, creating sketches for canvases. However, Jacob was better at creating tenebrism and chiaroscuro techniques.

If we take a closer look at Jordaens' masterpieces and compare them with the works of Peter Paul, we will see a clear influence of the latter. But Jacob's paintings are more different warm colors, freedom and softness.

Peter Rubens

When discussing the masterpieces of Flemish painting, one cannot fail to mention Rubens. Peter Paul was a recognized master during his lifetime. He is considered a virtuoso of religious and mythical themes, but the artist showed no less talent in the technique of landscape and portraiture.

He grew up in a family that fell into disgrace due to his father's tricks in his youth. Soon after the death of their parent, their reputation is restored, and Rubens and his mother return to Antwerp.

Here the young man quickly acquires the necessary connections, he is made the page of the Countess de Lalen. Additionally, Peter Paul meets Tobias, Verhacht, van Noort. But Otto van Veen had a special influence on him as a mentor. It was this artist who played decisive role in shaping the style of the future master.

After four years of training with Otto Rubens, they were accepted into a guild of artists, engravers and sculptors called the Guild of St. Luke. The end of the training, according to the long tradition of Dutch masters, was a trip to Italy. There Peter Paul studied and copied the best masterpieces this era.

It is not surprising that the paintings of Flemish artists in their features resemble the techniques of some Italian masters Renaissance.

In Italy, Rubens lived and worked under famous philanthropist and collector Vincenzo Gonzaga. Researchers call this period of his work Mantuan, because the estate of the patron Peter Paul was located in this town.

But the provincial location and Gonzaga's desire to use it did not please Rubens. In the letter, he writes that Vicenzo could just as well have used the services of portrait painters and craftsmen. Two years later, the young man finds patrons and orders in Rome.

The main achievement of the Roman period was the painting of Santa Maria in Valicella and the altar of the monastery in Fermo.

After the death of his mother, Rubens returns to Antwerp, where he quickly becomes the highest paid master. The salary he received at the Brussels court allowed him to live in grand style, have a large workshop, and many apprentices.

In addition, Peter Paul maintained relations with the Jesuit order, with whom he was raised as a child. From them he receives orders for the interior decoration of the Antwerp Church of St. Charles Borromean. Here he is helped by his best student, Anton van Dyck, whom we will talk about later.

Rubens spent the second half of his life on diplomatic missions. Shortly before his death, he bought himself an estate, where he settled and began painting landscapes and depicting the life of peasants.

The influence of Titian and Bruegel is especially evident in the work of this great master. The most famous works are the paintings “Samson and Delilah”, “The Hunt for the Hippopotamus”, “The Abduction of the Daughters of Leucippus”.

Rubens had such a strong influence on Western European painting that in 1843 a monument to him was erected on the Green Square in Antwerp.

Anton van Dyck

Court portrait painter, master of mythical and religious subjects in painting, artist - all these are the characteristics of Anton van Dyck, the best student of Peter Paul Rubens.

This master’s painting techniques were formed during his studies with Hendrik van Balen, to whom he was apprenticed. It was the years spent in this painter’s studio that allowed Anton to quickly gain local fame.

At the age of fourteen he painted his first masterpiece, and at fifteen he opened his first workshop. Thus, at a young age, van Dyck became an Antwerp celebrity.

At the age of seventeen, Anton was accepted into the Guild of St. Luke, where he became an apprentice to Rubens. Over the course of two years (from 1918 to 1920), van Dyck painted portraits of Jesus Christ and the twelve apostles on thirteen boards. Today these works are kept in many museums around the world.

Anton van Dyck's painting art was more focused on religious themes. He painted his famous paintings “The Crowning” and “The Kiss of Judas” in Rubens’ workshop.

The period of travel began in 1621. First, the young artist works in London, under King James, and then goes to Italy. In 1632, Anton returned to London, where Charles I knighted him and gave him the position of court artist. Here he worked until his death.

His paintings are exhibited in museums in Munich, Vienna, Louvre, Washington, New York and many other halls around the world.

So today we are with you, dear readers, learned about Flemish painting. You got an idea about the history of its formation and the technique of creating canvases. In addition, we briefly met the greatest Dutch masters of this period.

Compiled from materials collected by V. E. Makukhin.

Consultant: V. E. Makukhin.

On the cover: A copy of Rembrandt's self-portrait, made by M. M. Devyatov.

Preface.

Mikhail Mikhailovich Devyatov - an outstanding Soviet and Russian artist, painting technologist, restorer, one of the founders and head for many years of the restoration department at the Academy of Arts. Repin, founder of the Laboratory of Painting Technique and Technology, initiator of the creation of the Restoration section of the Union of Artists, Honored Artist, Candidate of Art History, Professor.

Mikhail Mikhailovich made a huge contribution to the development visual arts with his research in the field of painting technology and study of the techniques of the old masters. He managed to capture the very essence of phenomena and present it in simple and in clear language. Devyatov wrote a series of magnificent articles about painting techniques, the basic laws and conditions for the strength of a painting, the meaning and main tasks of copying. Devyatov also wrote a dissertation “Preservation of works oil painting on canvas and features of soil composition”, which reads easily like an exciting book.

It's no secret that after October revolution classical painting suffered severe persecution, and much knowledge was lost. (Although some loss of knowledge in painting technology began earlier, this was noted by many researchers (J. Wibert “Painting and Its Means”, A. Rybnikov Introductory article to the “Treatise on Painting” by Cennino Cennini”)).

Mikhail Mikhailovich was the first (in the post-revolutionary period) to introduce the practice of copying into educational process. This initiative was picked up by Ilya Glazunov at his academy.

In the Laboratory of Painting Technique and Technology created by Devyatov, under the guidance of a master, a huge number of soils were tested, according to recipes collected from preserved historical sources, and also developed a modern synthetic soil. Then the selected soils were tested by students and teachers of the Academy of Arts.

One of the parts of these studies were diary reports that students had to write. Since exact evidence of the work process of outstanding masters has not reached us, these diaries seem to lift the curtain on the mystery of the creation of works. Also, from the diaries, one can trace the connection between the materials used, the technique of their use and the safety of the item (copy). They can also be used to track whether the student has mastered the lecture materials, how they apply them in practice, as well as the student’s personal discoveries.

The diaries were kept from approximately 1969 to 1987, then this practice gradually faded away. Nevertheless, we were left with very interesting material, which can be very useful for artists and art lovers. In their diaries, students describe not only the progress of work, but also comments from teachers, which can be very valuable for next generations artists. Thus, reading these diaries, one can, as it were, “copy” best works Hermitage and Russian Museum.

According to M. M. Devyatov curriculum, in the first year, students listened to his course of lectures on the technique and technology of painting. In the second year, students copy the best copies made by senior students at the Hermitage. And in the third year, students begin direct copying in the museum. Thus, before practical work Very most of is devoted to the acquisition of necessary and very important theoretical knowledge.

To better understand what is described in the diaries, it would be useful to read the Articles and Lectures of M. M. Devyatov, as well as those compiled under the leadership of Devyatov Toolkit to the course Painting Techniques “Questions and Answers”. However, here, in the preface, I will try to focus on the most important points, based on the above books, as well as memoirs, lectures and consultations of Mikhail Mikhailovich’s student and friend - Vladimir Emelyanovich Makukhin, who is currently teaching this course at the Academy of Arts.

Soils.

In his lectures, Mikhail Mikhailovich said that artists are divided into two categories - those who love matte painting, and those who love glossy painting. Those who love glossy painting, seeing matte pieces on their work, usually say: “It’s rotten!”, and are very upset. Thus, the same phenomenon is joy for some, and grief for others. Very important role Soils play a role in this process. Their composition determines their effect on paints and the artist needs to understand these processes. Now artists have the opportunity to buy materials in stores, rather than making them themselves (as the old masters did, thus ensuring highest quality their works). As many experts note, this opportunity, which seemingly makes the artist’s work easier, is also the reason for the loss of knowledge about the nature of materials and, ultimately, for the decline of painting. Modern trade descriptions of soils do not contain information about their properties, and very often even the composition is not indicated. In this regard, it is very strange to hear the statement of some modern teachers that an artist does not need to be able to make primer on his own, because he can always buy it. It is imperative to understand the compositions and properties of materials, even in order to buy what you need and not be deceived by advertising.

Gloss (shiny surface) reveals deep and rich colors, which matte makes uniformly whitish, lighter and colorless. However, the gloss may make it difficult to see big picture, since reflections and glare will interfere with perceiving it all at the same time. Therefore, often in monumental painting prefer a matte surface.

Generally speaking, glossiness is natural property oil paints, since oil itself shines. And the matte finish of oil painting came into fashion relatively recently, at the end of the 19th and beginning of the 20th century (Feshin, Borisov-Musatov, etc.). Since the matte surface makes dark and saturated colors less expressive, matte painting usually has light tones, advantageously emphasizing their velvety quality. And glossy paintings usually have rich and even dark tones (for example, old masters).

The oil, enveloping the pigment particles, makes them glossy. And the less oil, and the more the pigment is exposed, the more matte and velvety it becomes. A good example is pastel. It is almost pure pigment, without a binder. When the oil leaves the paint and the paint becomes dull or “withered,” its tone (light-dark) and even color changes somewhat. Dark colors lighten and lose the sonority of color, and light colors somewhat darker. This is due to a change in the refraction of light rays.

Depending on the amount of oil in the paint, its physical properties also change.

The oil dries from top to bottom, forming a film. As the oil dries, it shrinks. (Therefore, you cannot use paint that contains a lot of oil for impasto, textured painting). The oil also tends to turn somewhat yellow in the dark (especially during the drying period); in the light it is restored again. (However, the painting should not dry in the dark, as some yellowing will be more noticeable in this case). Paints on adhesive primers (oil-free paints) turn yellow less, since they contain less oil. But in principle, the yellowing that occurs from a large amount of oil in paints is not significant. The main reason for yellowing and darkening of old paintings is old varnish. It is thinned out and replaced by restorers and underneath is usually a bright and fresh painting. Another reason for the darkening of old paintings is dark soils, since oil paints become more transparent over time and the dark soil “eats” them.

Primers are divided into two categories - pulling and non-pulling (based on their ability to draw oil out of the paint, and, therefore, make it matte or glossy).

Drying can also occur not only from pulling primer, but also from applying a layer of paint to a previous layer of paint that has not dried out enough (forming only a film). In this case, the insufficiently dried bottom layer begins to draw oil from the upper, new layer. Interlayer treatment with compacted oil helps to prevent this phenomenon, and the addition of thickened oil and resin varnish to paints, which speed up the drying of paints and make it more uniform.

Oil-free paint (paint with little oil in it) becomes thicker (pasty), making it easier to create a textured brushstroke. It dries faster (since it contains less oil). It is harder to spread over the surface (hard brushes and a palette knife are required). Also, oil-free paint turns yellow less, since it contains little oil. The pulling primer, drawing oil out of the paint, seems to “grab” it, the paint seems to grow into it and harden, “becomes.” Therefore, a sliding, thin stroke on such a soil is impossible. On stretchy soils, drying is faster also because drying occurs both from above and from below, since these soils provide so-called “through drying”. Quick drying and the thickness of the paint make it possible to quickly gain texture. A striking example impasto painting on stretchy ground – Igor Grabar.

The complete opposite of painting on “breathing” traction soils is painting on impermeable oil and semi-oil soils. (Oil primer is a layer of oil paint (often with some additives) applied to sizing. Semi-oil primer is also a layer of oil paint, but applied to any other primer. Semi-oil primer is also considered to be simply dried (or dried out) painting, which after some time time the artist wants to finish it by applying a new layer of paint).

The dried layer of oil is an impermeable film. Therefore, oil paints applied to such a primer cannot give up part of their oil to it (and thus stick to it), and, therefore, cannot “dry out”, that is, become dull. That is, due to the fact that the oil from the paint cannot go into the ground, the paint itself remains just as shiny. The painting layer on such an impenetrable ground turns out to be thin, and the stroke is gliding and light. The main danger of oil and semi-oil primers is their poor adhesion to paints, since there is no penetrating adhesion here. (It is very well known a large number of works even famous artists Soviet period, from whose paintings the paint is falling off. This point has not been sufficiently covered in the education system of artists). When working on oily and semi-oily soils, it is necessary additional remedy, gluing a new layer of paint to the primer.

Pullable soils.

Glue-chalk soil consists of glue (gelatin or fish glue) and chalk. (Sometimes chalk was replaced by gypsum, a substance with similar properties).

Chalk has the ability to absorb oil. Thus, paint applied to the soil, in which chalk is present in sufficient quantities, seems to grow into it, giving up part of its oil. This is a fairly strong type of penetrating adhesion. However, often artists, striving for matte painting, use not only a very adhesive primer, but also greatly de-oil the paints (previously squeezing them onto absorbent paper). In this case, the binder (oil) may become so small that the pigment will not adhere well to the paint, turning almost into a pastel (for example, some of Fechin’s paintings). By running your hand over such a picture, you can remove some of the paint like dust.

Old Flemish painting method.

Tensile glue-chalk soils are the most ancient. They were used on wood and painted on with tempera paints. Then, at the beginning of the 15th century, oil paints were invented (their discovery is attributed to Van Eyck, a Flemish painter). Oil paints attracted artists because of their glossy nature, which was very different from matte tempera. Since only a tacky glue-chalk primer was known, artists came up with all sorts of secrets to make it non-tetch, and thus get the much-loved shine and richness of color that oil gives. The so-called Old Flemish painting method appeared.

(There are disputes about the history of oil painting. Some believe that it appeared gradually: at first, painting started with tempera was completed in oil, thus producing the so-called mixed media(D.I. Kiplik “Painting Technique”). Other researchers believe that oil painting originated in Northern Europe simultaneously with tempera painting and developed in parallel, and in Southern Europe(centered in Italy) various options mixed technology appeared from the very beginning easel painting(Yu. I. Grenberg “Technology of easel painting”). Recently, a restoration of Van Eyck’s painting “The Annunciation” was carried out and it turned out that the blue cloak of the Mother of God was painted in watercolors (there was a film about the restoration of this painting documentary). Thus, it turns out that mixed technology was present in northern Europe from the very beginning).

The Old Flemish method of painting (according to Kiplik), which was used by Van Eycky, Dürer, Pieter Bruegel and others, consisted of the following: an adhesive primer was applied to a wooden base. Then the drawing was transferred onto this smoothly polished primer, “which was previously made in the full size of the painting separately on paper (“cardboard”), since direct drawing on the primer was avoided so as not to disturb its whiteness.” Then the drawing was outlined with water-soluble paints. If the drawing is translated using charcoal, then drawing with water-soluble paints fixes it. (The drawing can be transferred by covering where necessary reverse side charcoal drawing, placing it on the base of the future painting and tracing along the contour). The drawing was outlined with a pen or brush. The drawing was shaded transparently with a brush brown paint“in such a way that the soil can be seen through it.” An example of this stage of work is “Saint Barbara” by Van Eyck. Then the picture could continue to be painted in tempera, and only completed with oil paints.

If the artist wanted to continue working with oil paints after shading the drawing with water-soluble paints, then he needed to somehow isolate the pulling soil from the oil paints, otherwise the paints would lose their sonority, for which artists fell in love with them. Therefore, a layer of transparent glue and one or two layers of oil varnish were applied over the drawing. When the oil varnish dried, it created an impenetrable film, and the oil from the paints could no longer penetrate into the ground.

Oil varnish is thickened, compacted oil. As the oil thickens, it becomes thicker, becomes stickier, dries faster and dries more evenly in depth. Usually it is prepared like this: with the first rays of the spring sun, place a transparent flat container (preferably glass) and pour oil into it to a level of about 1.5 - 2 cm (covering it from dust with paper, but without interfering with air access). After a few months, a film forms on the oil. In principle, from this moment the oil can be considered thickened, but the more the oil thickens, the more its qualities increase - adhesive strength, thickness, speed and uniformity of drying. (Moderate compaction usually occurs after six months, severe compaction after a year). Oil varnish is the most reliable means of gluing adhesion between oil primer and a layer of paint and between layers of oil paint. Oil varnish also serves as an excellent means of preventing paints from burning through (it is added to paints and used for interlayer processing). Oil compacted in the manner described is called oxidized. It is oxidized by oxygen, and the sun accelerates this process and at the same time brightens the oil. Oil varnish is also called resin dissolved in oil. (The resin gives the compacted oil even greater stickiness, increasing the speed and uniformity of drying). Paints with compacted oil dry faster and are more uniform in depth, with less buzz. (The addition of resin turpentine varnish, for example, dammar, also affects paints).

Glue-chalk soils have a very important feature - oil applied to such soil forms a yellow-brown stain, since chalk, when combined with oil, turns yellow and brown, that is, it loses

The adhesive primer developed by M. M. Devyatov contains zinc white pigment. The pigment prevents the soil from turning yellow and brown from oil. The zinc white pigment can be partially or completely replaced by another pigment (then a colored primer will be obtained). The ratio of pigment to chalk should remain the same (usually the amount of chalk is equal to the amount of pigment). If you leave only the pigment in the soil and remove the chalk, then the paint will not stick to such a soil, because the pigment does not draw in the oil as chalk does, and there will be no penetrating adhesion.

Another very important feature glue-chalk soils, this is their fragility, which comes from skin-bone brittle adhesives (gelatin, fish glue). Therefore it is very dangerous to increase required amount glue, this may result in ground craquelures with raised edges. This is especially true for such soils on canvas, since this is a more vulnerable base than the solid base of the board.

It is believed that the old Flemings could add light flesh-colored paint to this insulating layer of varnish: “on top of the tempera drawing, an oil varnish was applied with an admixture of transparent flesh-colored paint, through which the shaded drawing was visible. This tone was applied to the entire area of ​​the picture or only to those places where the body was depicted” (D. I. Kiplik “Painting Techniques”). However, in “Saint Barbara” we do not see any translucent flesh tone covering the drawing, although it is obvious that the painting has already begun to be worked out with paints from above. Probably for old Flemish technology Painting is still more characteristic of painting on white ground.

Later, when the influence of Italian masters with their colored grounds began to penetrate into Flanders, light and light translucent imprimatures (for example, Rubens) still remained characteristic of the Flemish masters.

The antiseptic used was phenol or catamine. But you can do without an antiseptic, especially if you use the soil quickly and do not store it for a long time.

Gelatin can be used instead of fish glue.

Related information.

Modern studies of works of art allow us to conclude that painting by the old Flemish masters was always done on a white glue ground. The paints were applied in a thin glaze layer, and in such a way that not only all layers of the painting, but also the white color of the primer, which, shining through the paint, illuminated the painting from the inside, took part in creating the overall pictorial effect. Also noteworthy is the virtual absence of white in painting, with the exception of those cases when white clothes or draperies were painted. Sometimes they are still found in the strongest light, but even then only in the form of the finest glazes.

All work on the painting was carried out in strict sequence. It began with a drawing on thick paper the size of the future painting. The result was the so-called “cardboard”. An example of such cardboard is Leonardo da Vinci's drawing for the portrait of Isabella d'Este.

The next stage of work is transferring the pattern onto the ground. To do this, it was pricked with a needle along the entire contour and borders of the shadows. Then the cardboard was placed on a white sanded primer applied to the board, and the design was transferred with charcoal powder. Getting into the holes made in the cardboard, the coal left light outlines of the design on the basis of the picture. To secure it, the charcoal mark was traced with a pencil, pen, or the sharp tip of a brush. In this case, they used either ink or some kind of transparent paint. Artists never painted directly on the ground, as they were afraid to disturb its whiteness, which, as already mentioned, played the role of the lightest tone in painting.

After transferring the drawing, we began shading with transparent brown paint, making sure that the primer was visible through its layer everywhere. Shading was done with tempera or oil. In the second case, to prevent the paint binder from being absorbed into the soil, it was covered with an additional layer of glue. At this stage of work, the artist resolved almost all the tasks of the future painting, with the exception of color. Subsequently, no changes were made to the drawing or composition, and already in this form the work was a work of art.

Sometimes, before finishing a painting in color, the entire painting was prepared in so-called “dead colors,” that is, cold, light, low-intensity tones. This preparation took on the final glaze layer of paint, with the help of which life was given to the entire work.

Leonardo da Vinci. "Carton for the portrait of Isabella d'Este."
Coal, sanguine, pastel. 1499.

Of course, we have drawn a general outline of the Flemish painting method. Naturally, every artist who used it brought something of his own to it. For example, we know from the biography of the artist Hieronymus Bosch that he painted in one step, using the simplified Flemish method. At the same time, his paintings are very beautiful, and the colors have not changed color over time. Like all his contemporaries, he prepared white, thin soil onto which he transferred detailed drawing. I shaded it with brown tempera paint, after which I covered the painting with a layer of transparent flesh-colored varnish, which insulated the soil from the penetration of oil from subsequent paint layers. After drying the painting, all that remained was to paint the background with glazes of pre-composed tones, and the work was completed. Only sometimes some places were additionally painted with a second layer to enhance the color. Pieter Bruegel wrote his works in a similar or very similar way.

Another variation of the Flemish method can be traced through the work of Leonardo da Vinci. If you look at his unfinished work “The Adoration of the Magi”, you can see that it was started on white ground. The drawing, transferred from cardboard, was outlined with transparent paint such as green earth. The drawing is shaded in the shadows with one brown tone, close to sepia, composed of three colors: black, speckled and red ocher. The entire work is shaded, the white ground is not left unwritten anywhere, even the sky is prepared in the same brown tone.

In the finished works of Leonardo da Vinci, the light is obtained thanks to the white ground. He painted the background of his works and clothes with the thinnest overlapping transparent layers of paint.

Using the Flemish method, Leonardo da Vinci was able to achieve an extraordinary rendering of chiaroscuro. At the same time, the paint layer is uniform and very thin.

The Flemish method was not used for long by artists. It lasted for pure form no more than two centuries, but many great works were created precisely in this way. In addition to the already mentioned masters, it was used by Holbein, Dürer, Perugino, Rogier van der Weyden, Clouet and other artists.

Paintings made using the Flemish method are distinguished by their excellent preservation. Made on seasoned boards and strong soils, they resist destruction well. The practical absence of white in the painting layer, which loses its hiding power over time and thereby changes the overall color of the work, ensures that we see the paintings almost the same as they came out of the workshops of their creators.

The main conditions that must be observed when using this method are scrupulous drawing, the finest calculations, the correct sequence of work and great patience.

Today I want to tell you in more detail about the Flemish painting method, which we recently studied in the 1st series of my course, and I would also like to show you a short report on the results and the process of our online learning.

During the course, I talked about ancient painting methods, about primers, varnishes and paints, and revealed many secrets that we put into practice - we painted a still life based on the creativity of the small Dutch. From the very beginning, we carried out the work, taking into account all the nuances of the Flemish painting technique.

This method replaced the tempera that was used before. It is believed that, like the basics of oil painting, the method was developed Flemish artist early Renaissance— Jan Van Eykom. This is where oil painting begins its history.

So. This is the painting method that, according to Van Mander, was used by the painters of Flanders: Van Eycky, Durer, Luke of Leiden and Pieter Bruegel. The method is as follows: onto a white and smoothly polished adhesive primer, a drawing was transferred using gunpowder or another method, which was previously executed in full-size picture separately on paper (“cardboard”), since drawing directly on the primer was avoided so as not to disturb its whiteness, which played great importance in Flemish painting.

Then the drawing was shaded with transparent brown so that the ground could be seen through it.

The said shading was done either with tempera and then it was done like an engraving, with strokes, or oil paint, while the work was carried out with the utmost care and already in this form was a work of art.

Based on a drawing shaded with oil paint, after drying, they painted and finished the painting either in cold halftones, then adding warm ones (which van Mander calls “Dead Tones”), or finished the work with colored glazes, in one step, half-body, leaving the brown preparation to show through in halftones and shadows. We used exactly this method.

The Flemings always applied paints in a thin and even layer in order to take advantage of the translucency of the white primer and obtain a smooth surface on which, if necessary, they could glaze many more times.

With the development of artists' painting skills the methods described above underwent some changes or simplifications, each artist used a slightly different method from the others.

But the basis for a long time remained the same: painting among the Flemings was always done on a white adhesive primer (which did not absorb oil from the paints) , a thin layer of paint, applied in such a way that not only all layers of painting, but also white primer, which was like a light source illuminating the picture from the inside, took part in creating the overall pictorial effect.

Your Nadezhda Ilyina.